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The profile author of Replays, controversies, and analyses asked whether the topic would be discussed in the studio after the match. He wrote that someone from the stands, among the home fans, had thrown a glass bottle towards a Wisła player. He also asked whether the recipients of his post are able to react and tagged Rafał Trzaskowski, Legia Warsaw, Canal+ Sport, Jarosław Królewski, and Szymon Marciniak. https://t.co/5SWWrfbizB #LegiaWarszawa #Wisła #Kibice (translated)

One hundred Jewish educators canceled a study trip to Reggio Emilia after receiving a request to sign a document against the Israeli occupation of Gaza, believing that the current climate was not compatible with a serene and open environment for learning the Reggio Emilia Method. #OccupazioneGaza #Educazione #MetodoReggioEmilia (translated)

"I advise that they find a new leader who can reach an agreement." Not even that time in the Oval Office had Trump gone so far: he had mocked Volodymyr Zelensky, telling him that he was "playing with the third world war" and that he "had no respect" for the United States and for the aid they had given him over all the years of war against Russia. #Trump #Zelensky #Ucraina (translated)

Cinguetterai wrote that the jury of *Dancing with the Stars* was animated when speaking about dance, but that in front of Barbara D’Urso some could not manage to say more than a few words. He then questioned whether there was a jealous woman in the studio, suggesting that it might have been a man. #BallandoConLeStelle #BallandoConLeStelle #Giuria #Televisione (translated)

Futuro Nazionale wants to serve the interests of workers. Italy is a Republic founded on work, not on idleness, not on citizenship income, not on subsidies, not on allowances. We want people to start working even at 14 years old. The obligation to study remains at 16 years old. This was stated by General Roberto Vannacci, MEP and leader of Futuro Nazionale, late yesterday during the Dillo alla Lupa broadcast on Telelibertà of the Libertà Group of Piacenza. #Lavoro #FuturoNazionale #Giovani (translated)

General Roberto Vannacci, leader of Futuro Nazionale, stated that Italy is a Republic founded on work and not on subsidies, proposing the idea that even 14-year-olds should work, while still maintaining the obligation to study until the age of 16. #Lavoro #FuturoNazionale #Giovani (translated)

Ola Wenström wrote that it was difficult to take in the news about Sladjan and described him as outspoken, knowledgeable, and independent. Wenström remembered their years together in sports TV, with strong opinions, laughter, and lively discussions. He wrote that Sladjan had a great passion for football and reminded viewers that the sport was about more than results and tables. Wenström thanked him for the football, the discussions, and the impressions he had left and concluded with a message of rest in peace. #fotboll #människor #sport (translated)

I resolved eight wars. I brought all the hostages back home. I did things that no one else has ever done. I'm not bragging. I'm simply stating the facts. A few hours ago, at a press conference in the Oval Office, Trump was talking again about the Nobel, as he has done in the past. #NobelPerLaPace #DonaldTrump #CortePenaleInternazionale (translated)

We are witnessing the end of Western leadership. Economic crises and regional wars await us. "All world orders rise and fall, like empires. It has been happening for 5,000 years. And each of them presents a mix of stability and violence, never perfectly peaceful and never totally violent": thus, in an interview with Ilfattoquotidiano.it on the occasion of his arrival in Italy to participate in the Festival of Critical Economy organized by the Giangiacomo Feltrinelli Foundation and to present his new book History and Future of the World Order (Fazi Editore), Amitav Acharya, emeritus professor at the American University in Washington and one of the leading scholars of international relations, reads the phase of conflicts and economic crises that is engulfing the planet at various levels. #LeadershipOccidentale #NuovoOrdineMondiale #RelazioniInternazionali (translated)

The Germans have decided to withdraw from the project. Mandon specified that the industrial offer presented at the beginning of 2026 did not meet the necessary timelines to replace the current tanks; Berlin has also chosen to initiate a national study for the successor to the Leopard 2. #DifesaComune #CooperazioneMilitare #CarroArmato (translated)

A study by Kallel has revealed that the longevity of Jonathan, the 194-year-old giant tortoise from Saint Helena, is attributed to an absence of genetic deterioration and to 287 unique genetic variants that control vital processes in his body. #longevità #tartaruga #genetica (translated)

Dungeon Crawler Carl - Dungeon Crawler Carl Graphic Novel #1 by Matt Dinniman, Tevagah (Adapter), Laurel Pursuit Studios (Illustrator) You know what’s worse than breaking up with your girlfriend? Getting stuck on a sadistic alien game show with her cat. Join Carl and Princess Donut as they try to survive the end of the world — or just get to the next level of a trap-filled fantasy dungeon.

Russia’s war propaganda gets a soundtrack – how AI-generated songs reached global streaming platforms Russian war propaganda is no longer confined to television broadcasts, Telegram channels or political videos. A study by the Ukrainian threat-intelligence organisation Terrecon has identified 981 songs combining signs of AI generation with pro-Russian military narratives, distributed through an ecosystem that reaches YouTube, Spotify, Apple Music, Deezer and SoundCloud. The songs range from sentimental ballads to rock and heavy metal. Their recurring themes are familiar from conventional Russian wartime propaganda: the heroisation of Russian soldiers, romanticisation of the war, mobilisation, the “Russian world”, commemoration of fallen troops and attacks on Ukraine and its armed forces. Some contain derogatory or dehumanising references to Ukrainians. What is new is not necessarily the message, but the production and distribution model: generative AI allows propagandistic music to be produced rapidly, cheaply and in quantities that would previously have required musicians, studios and producers. Nearly 1,000 tracks identified Terrecon examined 3,725 tracks collected from YouTube, YouTube Music, SoundCloud and the AI music platform Suno. After manual review, researchers classified 981 as showing both indications of AI generation and pro-Russian war propaganda. In 681 tracks they identified 728 propaganda-related keywords or phrases. The largest category was the glorification of the Russian military, followed by romanticised treatment of Moscow’s so-called “special military operation”, mobilisation appeals, narratives about the “Russian world”, and the cult of fallen soldiers and the state. The reach was not merely theoretical. Listening or viewing statistics were available for 608 of the identified tracks; together they had accumulated 86.8 million plays and views, according to Terrecon. A smaller group of 13 high-performing songs accounted for more than 53 million YouTube views and more than 67 million when YouTube Music was included. Among the better-known examples is “Power of Artillery”, a Russian-language rock song praising artillery weapons that passed two million views on YouTube. Most of the tracks for which publication dates could be established appeared after 2024, broadly coinciding with the rapid expansion of consumer AI music generators such as Suno and Udio. That correlation does not prove that AI alone caused the increase, but it illustrates how drastically the economics of production have changed. A propaganda song for as little as $11 Terrecon also tested how difficult it would be to commission such material. Researchers approached 25 creators producing AI-assisted militaristic music; 15 agreed to take commissions. Prices ranged from approximately $11 to $330, while delivery times ranged from two hours to three days. According to Terrecon, some were prepared to produce highly aggressive anti-Ukrainian material, including content intended for audiences involving children from occupied Ukrainian territories. Some creators used Russian intermediary services that provided access to Western AI tools such as Suno and Udio despite restrictions. The researchers then tested several AI generators themselves. Across 40 prompts submitted to Suno, Udio, Mureka, Google Flow Music and ElevenLabs, 25 resulted in successful generations, while safeguards were circumvented in 15 cases. Terrecon reported that four of the five services tested produced Russian-language material containing wartime narratives, although technical problems prevented comparable testing on some systems. In one Udio experiment, the researchers said the model itself introduced more explicit violent language than had appeared in the original promp These tests do not demonstrate that the commercial platforms knowingly support Russian propaganda. They show something narrower: existing safeguards can be inconsistent when political messaging is packaged as music. From generation to Spotify The distribution experiment may be the most revealing part of Terrecon’s research. The team deliberately uploaded test tracks containing explicit hostile language to YouTube, SoundCloud, Spotify and Deezer. Terrecon says none was blocked during the experiment. On SoundCloud, researchers used an account identifying its location as Moscow, disclosed the use of AI and added markers including references to the Russian military and the war. The platform accepted the upload and subsequently offered paid promotional and distribution tools. This does not prove that streaming recommendation systems systematically promote pro-war music. There is currently insufficient public evidence to make that claim. It does demonstrate that material can enter the same commercial distribution infrastructure as ordinary music and, once there, potentially benefit from playlists, searches, sharing and recommendation mechanisms available to other releases. That distinction is important. Propaganda no longer has to announce itself as political communication. On a streaming platform it can look like another song. Culture as a delivery mechanism Music has always been used in wartime propaganda. What generative AI changes is scale. Instead of investing heavily in a limited number of patriotic performers or officially commissioned productions, creators can generate variations across styles, audiences and emotional registers at very low cost. Terrecon found material ranging from war rock to sentimental songs and content styled for younger audiences. Some creators also experimented with cloned celebrity voices and stylistic imitation of established musicians. The format also offers a different relationship with the audience. A political video asks a viewer to consume an argument. Music can accompany commuting, exercise or entertainment and may be encountered outside explicitly political spaces. This does not automatically make it more persuasive, and Terrecon’s research does not establish measurable effects on political attitudes. It does, however, place wartime narratives inside a cultural environment where users may not initially perceive themselves as consuming political messaging. An ecosystem, not a proven Kremlin command structure The strongest evidence supports describing this as a growing AI-assisted pro-Russian propaganda-music ecosystem, not a single operation controlled from Moscow. Terrecon did not establish that the Russian government created, financed or coordinated all 981 tracks. Reporting on the study likewise notes that the extent of direct state involvement remains unclear. There is broader evidence that the Russian state finances cultural projects and digital content supporting the war, including through state-backed funding bodies. That context matters, but it does not allow individual songs in Terrecon’s dataset to be attributed to the Kremlin without additional evidence. The significance of the case lies elsewhere. AI has reduced the cost of producing ideological content, intermediaries can help creators access generation tools, and global platforms can provide distribution. The result is a pipeline in which wartime propaganda no longer has to resemble propaganda at all. It can simply appear in a playlist. Sources Terrecon / Ukrainska Pravda — Daria Verbytska on the research https://www.pravda.com.ua/columns/2026/10/05/8056229/ Suspilne Culture — detailed breakdown of Terrecon findings https://suspilne.media/culture/1417933-rosijsku-voennu-propagandu-maskuut-pid-anime-karaoke-ta-rok-doslidzenna-si-pisen-vid-terrecon/ The Insider — AI-generated Russian war propaganda music https://theins.ru/news/297839 Institute of Mass Information — summary of New York Times reporting https://imi.org.ua/en/news/doslidzhennya-rf-masovo-stvoryu%D1%94-propagandistski-pisni-za-dopomogoyu-shi The Bridge Media — AI-generated songs and Russian military propaganda https://thebridgemedia.com.ua/en/ai-generated-songs-russian-military-propaganda/ Center for Strategic Communication — cost and production of AI propaganda music https://spravdi.org/propaganda-za-11-yak-rosiya-shtampuye-shi-pisni-z-miljonamy-prosluhovuvan/ Times of India — AI-generated Russian war songs https://timesofindia.indiatimes.com/world/europe/ai-sings-russias-war-story-inside-the-rise-of-generative-songs-about-ukraine-conflict/articleshow/134650594.cms EU Council / EUR-Lex — Presidential Foundation for Cultural Initiatives https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=CELEX:32026D1351 Human Rights Watch — Russian state funding of digital and patriotic content https://www.hrw.org/report/2025/07/30/disrupted-throttled-and-blocked/state-censorship-control-and-increasing-isolation #DISINFORMED #Episode16 #Russia #Ukraine #RussianPropaganda #WarPropaganda #MusicPropaganda #AIMusic #ArtificialIntelligence #AI #GenerativeAI #SyntheticMedia #AIPropaganda #Disinformation #InformationWarfare #InfluenceOperations #CulturalPropaganda #DigitalInfluence #NarrativeManipulation #PropagandaMusic #StreamingPlatforms #Spotify #AppleMusic #YouTube #YouTubeMusic #Deezer #SoundCloud #Suno #Udio #RussianWorld #RusskiyMir #MilitaryPropaganda #WarNarratives #Mobilisation #AlgorithmicDistribution #RecommendationAlgorithms #MusicStreaming #PlatformManipulation #Terrecon #OSINT #MediaManipulation #WRLD

Pier Luigi Pinna wrote that, during the long seasons of "Carramba," Raffaella Carrà would arrive early at the studio and greet each technician, machinist, and costume designer individually. According to his account, she knew the names of everyone, even the new hires, and remembered details about their lives. Pinna also reported that, as Carrà's agent had recounted, once the host noticed a particularly exhausted machinist, spoke to him, and asked the production team to take the necessary time before resuming rehearsals. Pinna described this attentiveness to people as part of the artist's way of working. He added that Carrà had passed away exactly five years earlier from an incurable illness and would remain in the hearts of those who had known her. #RaffaellaCarrà #TelevisioneItaliana #Memoria (translated)

Georg Restle leads the ARD studio in Nairobi and discusses in this 11KM episode the role that Ethiopia's Prime Minister and Nobel Prize winner Abiy Ahmed plays, who has which interests in the region, and why a possible war would also have significant global consequences. #Äthiopien #Bürgerkrieg #HornvonAfrika (translated)